Bold, playful and with a touch of irony: The creative world of Nora Toth

Hungarian illustrator and designer Nora Toth brings a sense of joy and personality to everything she creates. Known for her bold use of colour and playful shapes, her work spans editorial commissions, packaging, and personal projects like her vibrant 36 Days of Type series. In this interview, she reflects on her journey into illustration, how she develops her style, and why Affinity has become an essential part of her creative process.

Nora, can you tell us how you first got into illustration?

Drawing has always been part of my life since childhood. I studied at a secondary school of arts and later graduated from university as a graphic designer. Over the last few years, I’ve worked for various design studios and agencies, mostly as a graphic designer, and I began creating illustrations just for fun in my free time. Now that I’m freelancing, I have more opportunities to take on illustration projects, though I still work as a graphic and UX/UI designer for different clients.

How would you describe your work?

I usually go for a playful style with bold, rounded shapes, cheerful energy, vivid yet sophisticated colours, and a touch of irony.

When you start a new illustration, what kind of planning goes into it?

I usually make super quick, messy pen or pencil sketches that don’t look good at all—sometimes people can’t even tell what they’re supposed to be. But this rough sketching really helps me in the ideation process.

We love your use of colours. How do you approach colour palettes in your illustrations?

Actually, finding the right colours is always a challenge for me. I recolour my work many times before settling on a palette. In general, I love delicate yet vivid pastels that create a nice contrast together.

Would you say your style has changed much over the years?

I still don’t think I’ve truly found my style. It also depends on the tools I use for a project. I used to draw a lot with thin markers, which made my work more cartoonish and detailed. As I moved into digital illustration, I shifted toward a more minimalistic direction. When I took part in the ‘36 Days of Type’ challenge, I needed something simple because I was still working full-time in an agency and only had a short window each day to create. That project pushed me further toward minimalism. I’m sure my style will continue to evolve as I take on more illustration projects.

Your 36 Days of Type project was created entirely in Affinity. What are your thoughts on Affinity as a tool for your illustration work?

I simply love it! Someone introduced me to it before the ‘type’ challenge, and I was amazed. Of course, I had to get used to the interface since it’s a bit different from Adobe products, but it’s very intuitive to use. I honestly haven’t really opened Illustrator since I got Affinity, even though, like most designers, that used to be my main vector tool.

How did you come up with so many different ideas?

I always started by sketching in my little notebook. Sometimes I came up with two or three ideas for a letter, and then I chose the one I liked best. One thing I would do differently, though, is choosing a more specific theme or topic. When I began the challenge, I just thought, “let’s create something cheerful and spring-related”, but that gave me too many options, and in the end, I found myself struggling with the ideation.

Each illustration is pretty detailed. How long did it take you to do just one?

Most of the letters took around five to six hours to create, while the more detailed ones could take seven to eight hours. On days when I had less time, I went for something simpler.

Did you find creating something different each day a challenge?

It was definitely challenging, but somehow I managed to keep up until the end. The hardest part was having to post work I wasn’t 100% satisfied with. Normally, I go back and iterate several times before I can say something is finished, but the tight timeframe didn’t allow for that. In a way, though, that limitation kept the project feeling fresh.

Do you think it’s important for artists to set aside time for creating outside of commissioned projects?

Yes, it’s important to leave some time for personal projects, as there are no limitations or requirements that come with work-related ones. It’s easier to explore, experiment and improve our personal style and technical knowledge that way.

Are there any illustrators you look to for inspiration?

There are so many great artists, but to name a few—I’m always inspired by the works of Paul Rand, Christoph Niemann, Rick Berkelmans, Agathe Sorlet, and even the woodblock prints of Hokusai. I tend to love artists with a bold style and a strong sense of humour.

Looking back, what challenge has been the biggest for you professionally?

Professionally, I would say becoming a freelancer. I had always worked as an employee, and in Hungary, it’s financially quite risky to go out completely on your own. But I wanted it badly, as freelancing suits my character far more than the typical nine-to-five lifestyle. I hope I can continue growing as both an illustrator and an entrepreneur, because I don’t want to return to being an employee.

How do you keep your workday organised?

I usually make a list of tasks I want to get through each day, but I still struggle with time management. It’s definitely an area I’d like to improve.

Lastly, if you weren’t an illustrator, what would you be?

Probably a jazz pianist. It was a childhood dream, but I only started playing at 20, since I hadn’t had the chance before. I’m still studying now, so for the moment it’s just a hobby.

Explore more of Nora’s vibrant work on Dribbble and Instagram.